By Darlene Farabee (auth.)
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Extra info for Shakespeare’s Staged Spaces and Playgoers’ Perceptions
9. Samuel Y. Edgerton, The Mirror, the Window, and the Telescope: How Renaissance Linear Perspective Changed Our Vision of the Universe (New York: Cornell University Press, 2008). See also Kristen Poole, Supernatural Environments in Shakespeare’s England: Spaces of Demonism, Divinity, and Drama (Cambridge: Cambridge University Press, 2011), where she reads Othello in the context of visual representations on the stage (58–94). 10. Sir Philip Sidney, The Defence of Poesy, in The Oxford Authors: Sir Philip Sidney, ed.
Soliloquies in many of Shakespeare’s plays encourage playgoers to shift perspectives, but the soliloquies in A Midsummer Night’s Dream do not take advantage of this possibility and instead more carefully maintain the separations between the characters and the playgoers. Another way playgoers orient themselves in relation to the actions on stage is reliance on a particular character as a “normalizing” Perceptions and Possibility in A Midsummer Night’s Dream 31 character. These are characters the playgoers depend on to verify particular events, often supernatural.
Tim Fitzpatrick’s Playwright, Space and Place in Early Modern Performance: Shakespeare and Company (Aldershot: Ashgate, 2011) convincingly traces a number of textual markers that frame and determine early modern staging possibilities. Janette Dillon, Shakespeare and the Staging of History, (Oxford: Oxford University Press, 2012), 31. See Mariko Ichikawa, Shakespearean Entrances (London: Palgrave, 2002) for a systematic tracing of meaning making through entrances and exits. For example, Leontes’ asides in The Winter’s Tale or the possibility of Hamlet being overheard.